New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-03-06
TECHNICALITIES or THE STAGE
A TALK WITH MIR. GOssMAN.

TALK WITH MR. GOsSMAN
In quiet way Franklin Sargent, the director Of the
Lyceum School OF Acting, is doing good deal of work
in the direction of thorough theatrical training He
has started lately series of special lectures on
some practical aspects of the stage delivered by
competent people. One OF these was given last week
by Thomas Gossman, the weil-known machinist and
etage carpenter who talked about The nomenclature
OF stage setting Ninety per cent of actors and
act csses." said Mr.. GossmaD, when chatting his
lecture the day after, know absolutely nothing of
tue ctical part OF stage. They cannot give m
inteliisiDle order to carpenter, eastman, or a
property -man And yet was surprised when | came
to talk to the pupils to rd how interesting the subject
was IL sometimes happens that an actor or III actress
has to go INTO strange theatre interview the master
carpenter and tell HIM how the stage should be set
for the play in which he she appears. As rule in
five minutes their ignorance is displayed The terms
are simple enough and very little experience would
make any one familiar with them.
/" Take the stage itself An ordinary stock theatre
has three centre traps These arranged IN the
middle OF the stage one opposite each entrance as the
spaces between the wings are alod Then there are
two quarter traps,-small, square apertures on the
extreme right and LETT: and two or three sinks,
which the long, narrow hinged traps stretch ng
across the stage and intended tor the raising lower
ing OF scenes The stage Ia covered with cloths,
div ded into the green baiLe, the carpet, and the
groundc oth painted to represent grass. or
TIE pavement, or what not. The wings > 10 which
have referred are the narrow scenes at the side OF the
stage, one projecting i'll advance OF the other. They
classified ~ wood wings 'gardenwings, 'archi-
tectural wings and 'ga,er-wmgs.' the latter
consulting OF sea representing Just
sky and water. Tho 'tormentors are the
wings placed close to the proscenum arch,
which form sort of frame To the picture behind.
Borders the srips of painted canvas hanging
horizontally the stage and matching the wings.
There 'sky-b0rdcr-, foliage borders, drapery-
borders aud arch-bordeTs the latter being, as the
name implies odt in the form of an arch TO give
apparent concavity TO tn" sky. Scenes are divided
into fats which are run on from each side of the
stage meeting the middle ba X ngs which are seen
through doOrways or window openings and drops
which SIMPLY painted canvas hung on roller.
Then there set pieces. which small portions OF
n ds oscd about the stage such as set rocks,
in the torn OF blun large boulder; tail-rUcks, q
piece slanting down 10 nothing aud representing small
rocks and foliage and groundwork, showing grass
ing trees and shrubs, ahd cut out 40 IA to show the
drop or backing behind Set trees are singe trees
cut out OF fiat canvas in some cases built up to
represent natur, treerunk Srt-watcrs are strips
painted represent The constructive part of
the stage includes the stage proper thu flies which
the galleries az the sizes above the stage rom
which the is worked the rigging lott, which is
above the flies and the bridge which across
the back of the stage. The grooves are the guides in
which the dats and wings run while the paint frame
IL generally placed at the back Of the stage and con-
sists OF a bridge in front OF hich the scene 10 be
painted is raised or lowered by puleys. As to lights
they include the toot-lights. the border lghts,
which are rows OF gas jets Oyerncad, the bunch
lights n collection OF burners mounted on movable
placed just clear OF the stage aud strip-lights, or
movable gas Jets. intended to be hung on hooks at
any desired height and easily stripped or taken
down. These only few OF the technical terms In
use behind the scenes but they include, think, the
more important definitions"